Practioners of Ryukyu Kempo believe that karate-do is a popular subform of
Kempo, established within this century by Gichin Funakoshi. People with original
copies of Funakoshi's first edition book Ryukyu Kempo state that he is clearly
is grappling and touching an opponent. Later editions and current karate books
only show a practioner with a retracted punch, where the original shows actively
grappling an enemy. It is felt that Funakoshi was the last of the purists, wanting
all to learn the art.
In subseqent years, the Okinawans, who have a culture and history of their
own, became disenchanted with the Japanese, and were less inclined to teach them
the "secret techniques" of self defense. When American military men occupied Japan
after WWII, they became enamored of the martial-arts. It is theorized that the
Japanese and Okinawans were reluctant to teach the secrets of their national art
to the occupiers, and so taught a "watered down" version of karate-do usually
reserved for children. Contemporary Kempo practioners practice "pressure point
fighting" or Kyushu-jitsu and grappling, called Tuite. It is an exact art of striking
small targets on the body, such as nerve centers, and grappling body points in
manners similar to Jujitsu or Aikido. (2)
Modern teachers of this are George Dillman of Reading, PA, Taiku Oyata of Independence,
Missouri, Rick Clark of Terre Haute, Indiana, and others.
The practioners of kempo believe that kata do not represent origin or direction
of attacks but positional techniques for the defender. Concentration is made on
physical perfection of kata and the Bunkai, or explanation of the movements. Tournaments
of kata and kumite (sparring) are encouraged as learning experiences, but not
overly stressed. Also taught is Kobudo, which is defined as weapons fighting using
ordinary hand tools.
Five principles to be observed in Oyata's school:
- Proper distance.
- Eye contact.
- Minimum pain infliction on your opponent.
- Legally safe.
- Morally defensible. (3)
There are a couple of physical differences in Kempo and many other styles.
One is a three-quarter punch, rather than a full twist. Second is a fist whereby
the thumb stops at the first finger, rather than the first two fingers. Third
is the sword hand, which has the little finger placed as parallel as possible
to the third finger and the thumb straight and on the inside rather than bent.
(2)
A - C